Best linesI’m waiting for an old friend - BranYou left me for dead - HoundI also robbed you - AryaI’ve always had blue eyes! - TormundWhatever they want - DanybutIt had its moments - Sansa
They need wheelchair ramps in Winterfell. They left Bran in the courtyard overnight!
Parallelism between Season 1 Episode 1 and Season 8 Episode 1
Foreshadowing (from different Seasons/Episodes.)
01. S03E05“ “Let’s not go back. Let’s stay here a while longer,” Ygritte tells Jon. “I don’t ever want to leave this cave, Jon Snow.” S08E01 “We could stay a thousand years. No one would find us,” Daenerys says to Jon.02. Sam is suggesting rebelling against the Targaryen because they burned his father and brother alive. Similar to when Robert's Rebellion, began when Rhaegar Targaryen, allegedly abducted Robert's betrothed, Lyanna Stark.
I've finally gotten around to watching this show and needless to say, I loved it. I don't tend to pick favorites with anything and while I thoroughly enjoyed this show, I'm a little baffled how so many people are calling this the greatest show of all time. It has great cinematography, in-depth meaning to the episode names, foreshadowing or symbolism in unique ways, but shouldn't how much you enjoy the show also play a factor in whether or not it's the 'greatest show of all time'? Just because a majority calls something the best of its category doesn't make it the best. Don't get me wrong, I don't hate the show. I just think that even if a show is bad to a majority's standards, there's still someone out there who considers that show the greatest show of all time. It doesn't matter if more people think a show is the greatest show of all time, it doesn't automatically make it true. Everyone has different tastes. Just like how there's also a majority who don't like or hate this show and aren't a fan of it, and that's completely fine. I liked this show even though it was pretty slow multiple times, but I wouldn't consider it the greatest show of all time. Everyone has their own 'greatest show of all time.' This show just isn't mine.
[8.1/10] It’s funny the things you notice on rewatch, like a subtle theme in this one of the members of the group looking for affection and fulfillment in other places and coming back to their friendship when they realize it’s what they really want.
That’s most adorable and most obvious in the Troy/Abed story. Their joint efforts to woo the librarian are, as she herself puts it, the cutest thing to ever happen to her, and there’s that combination between sweet and weird in their courtship efforts that’s the foundation of the Troy/Abed relationship. Troy bailing on the librarian when she says Abed’s weird, only to end in a hug with his best friend, is a nice note to close on.
The Britta/Annie story is fun in that regard too. There’s a solid comic setup in Britta and Page both thinking the other’s a lesbian and having the smug pride of being a progressive straight person as the only reason each has befriended the other. But for all the satire of that (and the gleeful schadenfreude of Britta and her ersatz counterpart being secretly judged by Annie and her ersatz counterpart), there’s also heart when Britta realizes that far from the “brave admiration” she thinks she wants for her friendship choices, she’s more touched by Annie’s support, which ends in just as nice of a hug as Troy and Abed.
Then there’s Jeff. His “this is a fight” moment with the group, which somehow gets cross-pollinated with an amusing riff the Barenaked Ladies, is silly but archly so, with that comic tone that Community mastered. His hosting Prof. Duncan, and eventually Chang, and eventually a whole party gets a little loony, especially when it turns into an elaborate scheme from Chang to squat there.
But I like the aftermath, where Jeff is the life of a party, but realizes he misses his friends. The fact that they can get by without him, and the realization that being their friend is a blessing, something he wants, not an obligation, is that extra depth that set this show apart. Naturally, he tries to impart some encouragement to Pierce, who has been chatting with a pain pill-encouraging hallucination of Andy Dick. Okay, this show is weird too. There’s a definite dark goofball quality to Pierce’s psyche convincing himself to keep taking pills, that goes just plain dark when Pierce is laid out on a park bench.
It’s the characteristic glimmer of something sad and serious in the midst of all the heart and frivolity. But that just makes this episode more complex and interesting and rich. Overall, a nice off kilter holiday episode that has a sideways and somewhat fractured but still affecting moral behind it.
My two favorite TV superheroes teaming up and kicking ass? What's not to love?
I really enjoyed Kara and Barry's interactions. They work well together and have easy, natural chemistry that makes them delightful to watch. Also, they are ridiculously adorable and funny. I couldn't help but grin like a maniac the whole episode.
Siobhan and Leslie were just big enough of a threat to make the action scenes interesing. Never mind that it apparently took Siobhan about 2 seconds to master her new abilities of which she'd been unaware all her life. Her makeup and hair were pretty ridiculous, but they were probably based on her comic book look, so I won't complain.
Cat Grant is flawless. I feel like I'm repeating myself, but she is just amazing. Her one-liners are hilarious ("You look like the attractive, yet non-threatening, racially diverse cast of a CW show"). It was nice to see her more vulnerable, motherly side during the park scene. And at this point I'm 99.9% certain that she knows about Kara. If she doesn't, the writers are just insulting her intelligence.
Kara earning the city's forgiveness was actually quite touching, even though it was a pretty cheesy moment. Still, I can handle some cheesiness as long as this golden retriever of a person is happy.
Can James just go away, please? Or, like, I don't know, die? Sacrifice himself Eddie-style in the season finale? I honestly don't care. Just make him disappear. He's useless, his only purpose this episode was to be jealous of Barry, he can't even move his face. Why can't Kara just be single? And if they really insist on putting her in a romantic relatioship, there are a billion better options than goddamn James. Get your shit together, writers. This episode would've been a perfect 10 for me had it not been for that awful forced romance. At least stop pretending that they have chemistry. Seriously, even if they had any, how could Barry possibly have noticed it? He spent like 10 seconds with James. I don't think I've ever been so frustrated with a pairing.
Melissa Benoist is just unbelievable. It seems that whatever the writers throw at her, she pulls it off with ease.
This show has definitely improved since the pilot and this episode was great. Right now, Supergirl is probably my favorite superhero TV show, next to The Flash and Agents of SHIELD, mostly because of the characters and some great character dynamics. Kara/Alex, Alex/J'onn and Kara/Cat are all wonderful relationships and there were some nice emotional scenes in this episode for each one of them. Kara's speech at the end of the episode was super touching and beautiful.
The only thing I really dislike about this show is the awkward trainwreck of a relationship between Kara and James. No matter what the writers do to convince me that these two are crazy in love with each other, there's just nothing there. No spark, no chemistry, no romantic tension, no genuine affection. Even their friendship seems forced. Maybe it's because James is the most boring character on the show. He's dull, he has zero personality and the fact that he's being reduced to a love interest doesn't help him at all. Sometimes I think that he could be replaced by a lifeless piece of wood and I honestly wouldn't notice. Every other character brings something to the table. James is just... there.
Good episode!!! I enjoyed itvery much. The fights were awesome and very well coordinated. I enjoyed all of them pretty much. Besides,Laurel and Quentin's runaway in just one shot was amazing. I loved it. I just Wonder wth is Damien doing with the underground corn and why on Earth does his wife have to be mayor. Plus, I don't like Ruve. She is kind of annoying, anyway.And that ending was like WTH!?!? So now Damien wants his daughter to play dates? Besides, there's something I don't really get. Like come on, do you really believe that William, a boy we have just seen for a few minutes is the moat important person in Oliver's life?I don'tbuy it. I also enjoyed Thea's reaction to discovering Ollie had a son. And Diggle's thingamajig to blow hammers away. It was kind of awesome. And Lyla, who now is running ARGUS, that's why she and Dig will be in the flash episode helping him to defeat King Shark. I'm looking forward to it. Also to see next week's episode of Arrow with Vixen. I can't wait. The minute I watched the end of this episode I looked for next week's promo. I have to confess I like Dahrk's character. Very funny. You should check the promo.I also Wonder what the hell wants Reiter. It's beginning to Look quite strangr, even though I don't get the point of the flashbacks.Anyway, good episode with a different way of killing. Now demolitions. I didn't see that coming. Good fight scenes, runaways, good connection Between Quentim/Donna and Ollie/Felicity. And that present. Curtis' present was so lovely. Let's see how it works and Felicity's reaction to knowing that Ollie has a son.Can't wait to next week!! see you then Boys
8.9/10. Well, it's official. Bob's Burgers is the king of Thanksgiving episodes. I'm certainly can't think of another show that's so consistently put out such great Turkey Day shows, and this year is an especially fun one.
It goes with a familiar formula for Bob's Burgers, with an A-story featuring the kids getting into some kind of misadventure at the school and a B-story with Linda, Bob, and a minor appearance from Teddy dealing with some bit of weirdness back at the restaurant. I think the show goes back to it so often because it very clearly works, and the adult/kid divide, with their respective natural habitats, gives everyone lots to do.
I loved the A-story, which featured Louise scheming to get a half-day before Thanksgiving, and deciding to supersede Mr. Frond's annual Turkey Day play with one so bad that he'll have no choice but to shut it down and let them out. She picks her sister's "The Quirky Turkey" fable, which Tina doesn't know until the end of the second act was chosen for its ruinous potential.
The whole Producers-esque plan to put on a play so bad it'll get them out of school is, as Mel Brooks proved twice over, rife with comic potential that the episode capitalized on. The effort to put on the play gave the denizens of Wagstaff plenty of ways to make the (real life) audience laugh, from Louise buttering up Frond by making him the Executive Producer (her cutting off his speech at the play was a big laugh), to Jocelyn explaining that she thinks harmony is "when I sing louder than you," to Zeke referring to Tina as "Tina-see Williams" in a bit of typically stellar Bob's Burgers worldplay. There's lots of laughs here (including Louise's line that it was hard to get people to sell bags of gizzards and giblets to a nine-year old) that keeps things light.
But the emotional contingent of the story, while not overwhelming, is very effective as well. You feel for Tina trying to tell her story and realizing her sister only wants to use it for shock value. (Her line "I feel like my soul has diarrhea" is appropriately graphic in describing that feeling.) And while Louise's change of heart after spraying the audience with turkey entrails is rather rushed and only mildly motivated, her eventual sticking up for her sister, and Tina winning over the crowd with her heartfelt song about having the (literal and figurative!) guts to be yourself is a nice way to end it. The episode captures the ramshackle school play feeling in every moment, and the slightly more polished version at the end is a treat as well.
There's nothing really emotionally potent about the B-story, which in a bizarre but perfectly Linda twist, is about the Belcher matriarch discovering a potato that has the face, and to her thinking, spirit of her grandfather, but it's hilarious nonetheless. Bob and Linda work well as a comedic pairing because Linda is so out there, and Bob is kind of bewilded but generally supportive of the lunacy, which adds up to something sweet but random every time. Teddy's guileless support for all of Linda's wacky theories is always welcome, and Bob rejecting the potato but then bringing it to the performance is an obvious but nonetheless funny and kind of cute way to end it.
Overall, it's another Bob's Burgers instant Thanksgiving classic. Keep 'em comin', Bob!
Wow. I didn't expect 'The Neon Demon' to fully live up to expectations, but I didn't expect it to be trash.
I really like minimalist experimental film (see: 'Under The Skin' and 'Beyond the Black Rainbow') but this creepy snorefest was just a complete failure on every level.
The director, Nicolas Winding Refn, made a comment this year at Cannes about Lars Von Trier being "over the hill." If this film is any indication, Refn is not worthy to buff Von Trier's loafers. On a good day, Refn may be able to imitate the superficial feel of a Von Trier film, but when it comes to actual substance or character, he completely whiffs it.
'Only God Forgives' and 'Drive' may remain on my Watchlist, but they will be shuffled toward the bottom after this two-hour, schlocky disappointment.
[7.6/10] One of the best tacks a horror film can take is rooting its supernatural or outsized sense of terror in something real. That grain of truth at the core of a movie’s scares makes them more vivid and gripping than bare, spooky scenes or the usual collection of ghoulies.
It certainly works to the benefit of The Visit. The film tells the story of two young children, Becca and Tyler, visiting their estranged grandparents for the first time. “Pop Pop” and “Nana” behave strangely, rumbling and being ill in the middle of the night or sneaking out to a mysterious shed, in a way that unnerves their grandchildren.
The smartest choice the film makes is to walk the line between whether this is the sign of something sinister or wrong, or whether it’s simply a combination of dementia and unfamiliarity that’s disturbing the kids. It’s a horror movie, so it’s not hard to guess how things play out, but the film gains strength by playing with that ambiguity. Outside the confines of a Hollywood picture, kids can have trouble relating to their grandparents, understanding the physical and mental challenges their elders are going through. Using that natural anxiety, that natural misunderstanding, both serves as a means to muddy the waters of What’s Really Going On, and to elevate the frightening qualities of when Nana and Pop Pop are acting out.
If there’s a smarter choice, however, it’s in the casting of the two young leads who carry the film. Olivia DeJonge plays Becca, the older sibling who is a budding director, out to document this momentous and fraught family occasion, with a combination of precociousness and vulnerability. Ed Oxenbould plays Tyler, Becca’s colorful, freestyle-rapping little brother, who makes for an amusingly free-wheeling yin to Becca’s very deliberate yang.
Centering a movie around kids is hard, as the challenges of finding the core of a character and maintaining it from beginning to end can be difficult for young actors. But DeJonge and Oxenbould both give their characters a sense of realness in their childlike reactions to the world around them, but also deliver the emotional layers to that experience to make them compelling figures and not just props in this drama.
Much of that comes from the script penned by the famed/notorious M. Night Shyamalan, who also directs the film. He too captures the inquisitive, precious spirit of childhood, while making Becca and Tyler easy characters to become endeared to and fear for. The film also features one of Shyamalan’s tightest scripts. As much as Shyamalan takes time out to be a little loose and show the kids being kids, helping to establish character and tone, he also dots every “i” and crosses every “t” in terms of setting up the mystery and providing plausible hints, convincing red herrings, and a solid build to the truth about what’s happening with their grandparents.
If anything, the film’s narrative is a little too neat. Emotional beats or noted characteristics come back into play at just the right moment, to the point that the viewer can see the strings of why some detail or story was told in the prelude. The plot never feels too convenient, but at times it moves like it’s on rails.
The same cannot be said, however, for the cinematography. Shyamalan employs the “found footage” conceit here, and it gives him a chance to use perspective and the verisimilitude of that choice to accentuate his scares. More than anything, it allows us to better know Becca and Tyler. If we’re not literally seeing their perspective, hearing their voice and seeing their point-of-view from behind the camera, then we see them in confessionals, opening up in the piercing way only a camera lens can admit.
Shyamalan uses that choice -- having the kids “filming” almost all of the movie, for both terror and fun. The hand-held conceit turns a simple game of hide and seek, or a chance encounter with a bystander on a visit to an old high school, into terrifying episodes, filled with crawling figures or troubling confrontations. But it also gives Tyler the chance to goof off in front of the camera in the way a ten year old would, or for Becca to amusingly wax rhapsodic over not wanting to be too intentional in her zooms and cuts, with Shyamalan clearly having a good time poking fun at his profession through the eyes of the child.
The only problem, then, is that once Shyamalan has laid down that initial layer of humor and creepiness, the inevitable reveal leads to a bit of the air coming out of the picture rather than the terror being heightened. Once the scales fall and the ambiguity is no longer there to goose the scares, the film becomes more stock in its horror, and the emotional climaxes coincide with the horror climaxes a little too easily.
Still, The Visit isn’t content to merely offer a snootful of well-crafted horror and an endearing, if frightening kid adventure. There’s a heavily-underlined but potent theme about acceptance and processing anger for those who’ve hurt us, particularly family members. The film isn’t shy in the way it connects the feelings of Becca and Tyler’s mom (Kathryn Hahn, who makes a strong impression in just a little bit of screentime) toward the parents she hasn’t spoken to in a decade and a half, with Becca and Tyler’s own feelings about their absentee dad. As with the scary side of the movie, The Visit pays both of these internal challenges a little too easily, but still convincingly.
It’s hard not to draw comparisons with Shyamalan’s breakthrough film, The Sixth Sense, give both movies’ use of talented child actors and themes of making peace with difficult parts of our lives, but The Visit stands on its own. It’s a tidier film, more self-contained, more human and unvarnished, with its single-location focus and more conventional scares. And it finds the sweet spot between the real things that unnerve us, and the grander horrors of the screen, to make an effective vignette about two kids finding their way through one uncertain situation and resolving another.
A backup, a hug, a fight and a kissEl is the cutest BADASS character ever
This episode was amazing and beautiful, if there's more than 10 stars I would give it more
First let's talk about Steve, he's amazing, he's brave and kind.. Did you see how he was genuinely care about these kids and puts himself in danger just to protect them.. I gotta say he became one of my favorite characters in the show
Also lets talk about the kid who plays Will, gosh!! That kid is sooo talented, I was genuinely feeling his pain, he's so amazing and I'm sure he has a bright future ahead of him
The 3 ways attack bit was also amazing, seeing all the characters attack at the same time from different places was gold writing from the show runners.. I liked how the kids took Steve with them while he was unconscious LMAO, and he was like f*** it lets go burn that sh*t.. I still thing that Nancy doesn't deserve Steve, he's too good for her
Anyway, I didn't like that bit with Dustin and his pet, it felt stupid, I mean they're monsters after all so I don't see how that monster can form such feelings for human, anyway he died at the end we saw him next to the chocolate bar
About El, her scene closing that gate was simply EPIC, I loved how she towards the end used both her hands to push the monster back, and by doing that she actually became more powerful, so now we know El with 2 raised hands are unstoppable
Last thing is the Snow Ball party, it was sad and hilarious seeing Dustin get rejected one by one LMAO, but then Nancy saved his a**, then we saw Mike sitting alone and I had a feeling that El gonna show up, and she did!! She was beautiful and cute.. I'm glad that she's finally with Mike and she feels happy
It was a great season but now we have to wait a long time from season 3 :(((
[8.4/10] A real winner. I am a sucker for bottle episodes, particularly ones that use the opportunity to dig into character and really allow for some creative writing and performances. Despite a few flashbacks and some CGI trickery, this is a mostly-contained half hour that lets the strengths of the performers and the writers’ room shine through.
There’s two great arcs here. The first centers on Janet herself, and the realization that her malfunctions are due to her sublimated feelings for Jason emerging every time she claims to be happy about something involving him and Tahani. It’s not much of a revelation given what we saw last week, but it’s still realized nicely.
The process of Michael troubleshooting Janet leads to all sorts of creative sequences showing off the show’s high concept chops. But I also enjoy the idea that (a.) Janet isn’t even aware of why she has these feelings about Jason and has to come to terms with them in her own, A.I. sort of way, and (b.) that she’s willing to die, again in her own detached way, if it means protecting Jason.
It’s a great showcase for D’Arcy Carden, who plays up Janet’s traditional chipper dialtone demeanor, while also finding room for subtle bits of emotion that show the ways she’s becoming a little more human.
It’s also a great showcase for Ted Danson. Michael comes to terms with the fact (mostly through flashback) that despite everything, he views Janet as a friend. She helped him solve his biggest problems and has been there for him, whether from affection or programmed duty, from the beginning, and he can’t bear to let her go. It’s a nice bit of parallelism in Michael becoming just a little more human as well.
“Janet and Michael” is the type of episode that could provide challenging in the wrong hands, but on The Good Place, it gives the audience a heap of creative comedy and character development without being able to rely on traditional TV storytelling beats or changes in scenery. Kudos to all.
(Plus hey, it's Dennis Feinstein as Janet's new manufactured boyfriend!)
When Negan exited the RV, in shadow, filmed from a low camera angle to make him look dominant and ominous... and his first words were about "making pee-pee in their pants," I winced, curled up into the fetal position, and started rocking back and forth.
OMG, I whimpered. Is Negan going to slaughter them all with his cringeworthy monologuing?
Most fans of 'The Walking Dead' are outraged by the truly horrendous anti-cliffhanger at the end of this episode, and they should be, but if you really think about it, WE ALL KNOW WHO DIED.
That point-of-view shot that closes the episode is actually a stand-in for each individual fan of this show.
So, from my perspective, it was actually ME being beaten to death. Lucille represents the ridiculous plot-twists, mind-numbing dialogue, ham-fisted cliffhangers, and totally out-of-character behaviour that has plagued this entire season. Metaphorically speaking, I finally had all my love and enthusiasm for this show beaten right out of my long-suffering skull.
Seriously, though. I am no longer invested in what happens to any of these people. How could I be? Everything the writers did this season went completely against the lead characters' long-established identities. Carol is now Emo Carol. Daryl is now an Impulsive Vengeance Machine that boneheaded Saviours can get the drop on. And Rick — all wild-eyed and boggled by the end of this episode — may as well be a brand new character, because this is simply not how the Rick Grimes we've come to know over six years would react.
I understand character arcs, but if our heroes aren't internally consistent, if their behaviour keeps doing 180° turns for the sake of the plot, then this just becomes a high-budget soap opera with zombies. And now, I think that's what it is.
Time will reveal that the biggest mistake of this season finale was not revealing who Negan actually killed. Not just because it was a painfully obvious and lame attempt to get people interested in next season, but because now we have so much time to ask ourselves the dreaded question: No matter who it turns out to be, do we really care?
I was a big fan of this show, and now I am the walking dead. This show has killed me with a bat wrapped in barbed wire.
EDIT #1: The only downside to giving up on 'The Walking Dead'? Missing Andrew Bloom's awesome reviews.
EDIT #2: Who really died? Why, the actor who tries to negotiate the highest pay-raise for season 7, of course.
It really was an episode that messes up with my nerves.... It was obvious that they wouldn't get rid of Negan's group so fast, but I was anxious the whole time.I LOVED Carol in this episode!! Finally we saw a much more humane side of her!! Which IMO was seriously lacking! I like how in one single episode, we got to see her feeling sorrow even from events back to season 3 with her diary of deaths. I think it was a nice touch that Carol was standing in front of Sam's grave... considering how the kid was all traumatized when he died. It's good that the writers didn't just turn her into a heartless character and she is feeling maybe a little bit of guilt over past actionsNow Tobin and Carol were adorable!! I like how they were playful and at the same time seemed to connect when talking. Also, seeing her interacting with other people apart from the group is always nice. It's a good match how he is sort of defenseless but still gets that she is tough with a good heart. I think it's what she needs, someone that doesn't see her as a helpless woman, nor as a super fighter. Even if it doesn't last, I think it's good for her to have that for a while
I also liked that she didn't turn on Morgan too!! He is pissing me off, even though I understand that he is struggling to not go back to how he was in Clear... but the guy made a huge mistake, and even after the whole mess he still wants to just talk to people... he is sounding like a broken record.It's about time that Morgan changes his speech a bit. He could adapt like Gabriel and come to terms with how the world really is now.And speaking of Gabriel, he really has changed! I like him now! He hasn't lost his faith, he just realized that he couldn't still hold on to the pass.
I hate how Abraham broke up with Rosita!! That was such a jerk move. It was really low to say something like that to her. And I was kind of hoping that Eugene would've been a bit more sympathetic instead of saying those non-sense about the cookie. I know he was being himself... but at the same time, he was there when Abraham and Rosita met and got together... I was hoping a bit more of support.
Now the ending was intense!!!
A better episode than the previous one.Finally Daryl actually had more scenes, although his whole theory of saying that maybe he was stupid to come back for those people ended up proving right in the end when he was double-crossed... I have to say that I get that those two strangers were trying to survive and all, but that was a low move towards a guy that actually helped them when he didn't had to, not to mention that they took not only his bike, but also his crossbow and left him stranded there unarmed. They can be good people and "theoretically" not killed anybody, but moves like that sort of make them worst.It was great seeing that Sasha is back to normal and in control of her feelings again. I loved how she called Abraham up on his BS and made him actually work through his issues and also apparently being back to normal again. Those grenades might come in hand soon :DI like how they found each other in the end and are all heading back home...Now I do wonder who was the one asking for help... because part of me wants to believe it was Glenn, but another just didn't recognize that voice as being his.
Best Snyder movie so far. Sadly it is deeply misunderstood. Movie is way more deeper and complex than it looks like on first glance.
People don't realize Sweet Pea is the protagonist, Babydoll is a figment of Sweet Pea’s imagination. Babydoll does not exist. Babydoll's story is Sweet Pea’s story. Sweet Pea was sexually abused, killed her sister and is in psychiatric hospital in therapy. Babydoll is Sweet Pea's avatar. Way of dealing with grief, with guilt, and way to manage her current situation and overcome it. Babydoll is also Sweet Pea's guardian angel.
Sweet Pea is the only fully rounded character, other girls represent aspects of her psyche. Babydoll represents strength and courage, Amber loyalty, Blondie fear, and Rocket represents guilt. In the third level reality her psyche fights for the things to get her free from her current state. Second guardian angel (the Wise Man) guides her through. To fully recover she needs to get over her guilt (Rocket dies as a symbol), also other girls represent things which she needs to leave behind to fully recover .
Babydoll is one of those things. She is the fifth thing (“The fifth is a mystery. It is the reason. It is the goal. It will be a deep sacrifice and a perfect victory.”). Lobotomy of Babydoll represents Sweet Pea’s mind of taking control. Sweet Pea needs to sacrifice Babydoll to be “cured”. Escape at the end is a symbol of that process of being cured. That’s why the driver is the Wise Man, he guides her further.
Sucker Punch is Sweet Pea’s journey from “madness” to “sanity”. Movie is philosophical / psychological investigation wrapped in a special effects action-fantasy. As the movie changes realities (mostly in the third reality), Snyder uses more fetishized image of the girls. He uses clichés and cluttered iconography (nazi zombies, sexy schoolgirls). It is a way to detached and disconnected characters from second reality. Second reality, the brothel, is the “main” reality. In which everything happens.